Compendium Improvisation: Fantasieren Nach Historischen Quellen Des 17. Und 18. Jahrhunderts
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English Summary: The Compendium Improvisation opens up important source texts for improvisation practice in the 17th and 18th centuries for lessons on historical keyboard instruments. It combines impulses from modern music theory and the associated rediscovery of Neapolitan Partimento practice, as well as the methodical ideas and concepts of the authors, which are in constant development. The format of the volume invites you to try out the numerous sheet music examples and methods presented. A network of cross-references not only facilitates cross-reading, but also makes the present compendium itself an image of those highly complex, integrative processes that unconsciously take place in the player's brain if the imagination is successful. German Description: Das Compendium Improvisation erschliesst fur ein breiteres Fachpublikum wichtige Quellentexte zur Improvisationspraxis des 17. und 18. Jahrhunderts fur den Unterricht auf historischen Tasteninstrumenten. Es vereint in sich Impulse der neueren Musiktheorie und der damit verbundenen Wiederentdeckung der neapolitanischen Partimento-Praxis ebenso wie die - in stetiger Weiterentwicklung befindlichen - methodischen Ideen und Konzepte der Autoren. In den einzelnen Artikeln werden Quellenauszuge, Musikbeispiele, Analysen uberlieferter Kompositionen und praktische Ubungen zu einem lebendigen Bild der barocken ?Fantasierkunst' verknupft. Dabei verfolgt die Sammlung jedoch nicht das Ziel, eine konsequent aufgebaute Improvisationsschule zu formulieren. Vielmehr mochte sie moglichst unterschiedliche Zugange zur stilgebundenen Improvisation eroffnen, deren methodische Ideen an historischen Vorbildern verifiziert und belegt sind. Das Format des Bandes ladt zum praktischen Ausprobieren der zahlreichen Notenbeispiele und prasentierten Methoden ein. Ein Netz von Querverweisen erleichtert nicht nur das Querlesen, sondern lasst das vorliegende Compendium selbst zu einem Abbild jener hochkomplexen, integrativen Vorgange werden, die bei einer gelungenen Phantasie aus dem Kopfe im Gehirn des Spielers unbewusst ablaufen.
Der Herausgeber Markus Schwenkreis, geb. 1970, unterrichtet an der Schola Cantorum Basiliensis Improvisation auf historischen Tasteninstrumenten sowie Theorie der Alten Musik. Gemeinsam mit seinen Dozierendenkollegen in Basel (Dirk Borner, Nicola Cumer, Emmanuel Le Divellec, Rudolf Lutz, Sven Schwannberger) widmet er sich in der Forschungsgruppe Basel fur Improvisation (FBI) der Wiederentdeckung und -belebung improvisatorischer Praktiken in der Musik des 17. und 18. Jahrhunderts.
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